Worked late till 2:00 am last night and up 5 hours later to the joyous babysong of child. Up for 7 hours now, “working” but can't for the life of me make out anything of significance I might've gotten done today. Might as well give up and call it a day of unwinding and recharging. Should've made this decision earlier because I just remembered I have a real live meatspace meeting in an hour.

Two books on my reading lap these days, both comix that I dip in and out of rather casually, and both couldn't be more different from one another: PROVIDENCE by Alan Moore and Jacen Burrows, and Steranko's NICK FURY AGENT OF SHEILD ARTISAN EDITION.

More on those soon.

#journal

Before:

After:

This seemingly minor upgrade comes with two rather significant benefits.

1) Efficiency: Whereas before there was only room for two stacks, the new system allows for three; New Unused Paper (bottom), Penciled Pages (middle), and Inked Pages (top), all conveniently within reach just under my tool side-table. These of course only pertain to the issue/chapter/project at hand. All previously finished chapters go into the flat files in the garage.

2) Mood elevation: I don't know about other people, but if my place of operation is schlubby, then my brain and general demeanor is schlubby. And a box with a stack of paper on it as a method of organization? It's schlubby. This may be the designer/borderline-OCD in me, but an improperly designed space just ads to my brain fog and keeps me from being able to think straight, and thinking straight is key to the type (and quantity) of work I do.

I've recently come to the decision that an artist's space need not be treated any less than a temple of creativity. Not to sound pretentious or anything, but if you think about a temple or any place of worship, it's design will always have two chief concerns: a) Functionality, and b) Atmosphere

Very practical decisions are made pertaining to seating arrangements, pedestal placement, so on and so forth, all of which have to do with the actual rituals and actions that need to be performed within such a religious space. Very functional stuff. And then, there's the stuff pertaining to atmospherics that might aid in creating a certain spiritual mood. Things like stained glass, murals, inscriptions, or the choice of incense.

It's probably a good idea to take these two chief concerns into consideration when setting up any artist's space as well. Except, rather than be shaped by religious motives, they are instead shaped by creative concerns. Everything needs to be designed as per the artist's functional needs, but the atmosphere must also be designed to inspire creativity. These two together will inform a workspace that will help an artist work seamlessly day in, day out.

For the curious, the two pieces of furniture utilized in pix above are: – Giantex Mobile End Table – Three-Tier Shoe Rack

#journal #workspace

It is entirely possible that this file is cursed. Second time in the span of 2 days this has happened. Last time resulted in a corrupt file that demanded I repeat a few days work from scratch.

I have, as of late, become rather obsessed with things that work well. Not just well, but as best as they're supposed to. This has resulted in a number of updates around the house; a couple of Made In non-stick pans, an electric pencil sharpener, electric eraser and mini vacuum cleaner for the rubbings, things like that. Because things that work as they're supposed to means a more efficient existence (seriously, those non-stick pans have saved me much time on unnecessary pan scrubbing).

Now whatever's going on with this cursed file really throws a wrench in all my attempts at efficient living, but I suppose that's just the universe's way of striking down and hahaha laughing at my face and telling me no matter what you do, Puny Human, you are not in control and you never will be hahaha!

#journal #work

There have been a few of these sorta things and it's been difficult to keep up with posting announcements, let alone remember them, but a virtual gallery talk will commence tonight at 7:30 pm EST with curator Amanda Hellman in conjunction with my work at Carlos Museum's AND I MUST SCREAM exhibition.

Back in Houston where I thought I would defrost, but no. Naturally, the winter freeze followed me here. It is on days like this when no amount of coffee is enough and I seriously consider shelling out on a fancy ass espresso machine I can command with my phone.

#Work #Talk #Journal

Atlanta. The South, where it should never go down to 0°C/33°F but is in fact 0°C/33°F. I will have to abandon the trusty electric Spin bikes I've been relying on for most of transportation thus far, on my last day in this glorious city, where the trees are tall, hills are numerous, and clubs are a-thumpin' (not that I would know, being the Covid-conscious fellow that I am).

Last day in the city before I embark on my return to Houston tomorrow evening where quite a bit of work awaits me. THE SOLAR GRID has been almost continuously on hiatus for the past six months due to a cascade of paying work, which is not at all something I'm proud of. I have one more obligation in the way (approximately 2 weeks worth) before the coast is clear for full on TSG immersion.

#journal #work #travel

Today is a day worth noting, because it marks the first time in a long time that I am actually on time finishing a thing for a change.

Wrapped up my mural at Carlos Museum in Atlanta a little after noon, giving us ample time to fiddle with multiple lighting options until we settled on the most unusual (obviously 🙂).

Also: Received good news from the publisher [that will not yet be named] in regards to my also unusual treatment for the print incarnation of my CRISPR THAN YOU story (previously STAYING CRISP).

I will reward myself with a much needed visit to my chiropractor followed by a bowl of Ramen somewhere with a patio. Won't survive being outside for long however, because of course the gods brought down an unusual discharge of winter on Atlanta to coincide with my visit just to fuck with me.

Nay, I will return to my AirBnb and read in solitude. Quite a lot of solitary time this work trip actually, which is quite unusual for me but to be expected given the plague [that will also not be named]. Quite apt in a way that the book I brought with is titled ALONE AGAINST TOMORROW.

#journal #work

Trying something new with my front page, where I put up a couple layered images to reflect my current status. Not sure whether I'll be updating it monthly or weekly (commitment!), especially because... who looks at anything other than social media now anyway?

Pictured in the foreground is a portrait shot by Nash Baker in front one of my murals at the Baker Institute in Houston a couple weeks back, and in the background is a work-in-progress shot of the mural I'm painting right this minute at Emory's Carlos Museum in Atlanta.

#Journal #Work

I don't usually have my picture taken alongside my artwork, although from what I'm seeing on Instagram these days that seems to be the trend lately. I was over at Rice University's The Baker Institute helping guide Nash Baker with photographing the four murals I had recently completed there, after which he asked if he could snap a portrait of me. Situated in very narrow hallways, these murals aren't at all easy to photograph (let alone paint, btw), so it took multiple attempts before figuring out the right way to go about it. We decided a panoramic view was never going to work, and arguing that they'll likely be shown on a “carousel”-equipped web gallery anyway, perhaps photographing them in vertical segments is best.

They're all up at ganzeer.com for viewing: – Every Beautiful Poem – Tu Lucha – The ABCs of Growth – The ABCs of Power

A little low on energy today despite the sun finally emerging after a short absence. A short bike ride to the barbershop ought to help snap me out of it. Not to mention the added benefit of getting a haircut, which—ahem, looks at picture above—I clearly need.

#journal #mural #painting

Spent first week of 2022 wrapping up new edits (plus new illustrations) for a story I wrote four years ago (cannot believe it's actually been that long!). The plan was to have this done by end of 2021, so I'm not entirely happy starting the year off by tying loose ends from the year prior. And I still have two more things I need to work on before I have a clear enough head to resume work on THE SOLAR GRID.

Only a week into 2022, and my to-do list is already stressing me out.

Ten days till I'm in Atlanta to paint a mural at Emory College's Carlos Museum. Should be fun, but also likely solitary as I'm told most everything on campus will be remote this month.

Will have to make do with a good book to bring with.

#Journal #Work

I get a lot of repeat questions by email, and I have no secretary/assistant/staff to address them, and being a neurotic inbox-zeroer I find it quite difficult to get on with my day without tending to unanswered emails, so... I figured I'd put together a little FAQ for some of the most commonly asked questions to save us all a little time and energy.

I am writing a paper/article/book on the art of the Arab Spring. Would you be available for an interview?

I'm afraid not. I've given hundreds of interviews on the subject over the course of the past decade, and seldom is there anything new to be said. And I neither have the time nor inclination to revisit it anymore.

Can you come speak at [—–] about your experience during the Egyptian revolution?

Not anymore, sorry.

We are from [major publisher], and would like to offer you a contract to produce a memoire about your experiences during the Arab Spring.

Thank you for thinking of me, but I'm afraid I'm not interested.

We are doing research on the current state of the Egyptian art scene. Would you be available to answer questions?

I have not been based in Egypt in many many years and know very little about the current state of the art scene there.

Can I commission you to design the cover art for my forthcoming academic book? And how much do you charge?

Absolutely. I charge a flat fee of USD $2000. Based on my experience designing academic book covers though, here are a few things to keep in mind: 1) This will likely have to come out of your research budget, because academic publishing houses certainly don't pay that much for cover art. They usually have an underpaid salaried in-house designer do it along with hundreds of other covers in any given month. 2) The design process from start to finish takes about a month. A nonrefundable 50% down payment is required in advance, with the remaining fees payable upon completion and approval. 3) My schedule is usually laid out for at least a couple months in advance, so keep in mind that I may not be able to start on your project before at least 1-2 months. 4) As far as I'm concerned, cover typography and cover art go hand-in-hand and I will design the cover as such. The publishing house may see it fit to design a different title treatment for the book, and that's totally fine as long as final approval of cover art/design goes through me. My agreement with you will stipulate this. Trust me, this will ensure that the cover art you hire me to work on will be presented in the best possible way. Some of the most prestigious academic publishers in the world have been courteous enough to work with me in this fashion thanks largely to the insistence of the author who originally hired me to create the art. 5) I retain full copyright of everything I create, including commissioned book covers. You will however receive an exclusive license to use it for your book, which means you can rest assured that it'll never appear on any other book.

What about designing non-academic book covers? Sure, I do those as well.

Can I use an older artwork/painting/mural of yours for my book cover? If so, how much would it cost?

Sure. I offer non-exclusive licenses for such usage at $500 a pop.

I heard that your sci-fi graphic novel THE SOLAR GRID has finally been released! Where can I buy it?

It's actually not at all finished yet! But Radix Media (together with my own publishing imprint Mythomatic) has been issuing individual chapter installments in print. To date, #1-5 are available directly from Radix Media. They will soon be available through Mythomatic as well (be sure to sign up for the newsletter to be notified), and you can read them digitally at TheSolarGrid.net.

When will THE SOLAR GRID be finished?

You can't rush genius, dammit! Okay, in all seriousness: the end date keeps getting pushed back year after year, so I'm quite reluctant to give a for-sure date at this time. It sucks, I know. As a reader, I also don't appreciate it when creators don't stick to an aforementioned schedule, but as a creator I also understand when the nature of the work itself demands a unique approach to its creation. Let's just say I'm operating on an ASAP basis right now, with hopes of completing it in 2022. Sign up for the Mythomatic newsletter to get notified.

I see you have an online shop. Do you ship to [—–]?

I ship everywhere, baby. 😎

I'll be coming back to this post and updating it as needed, and will also be adding a version of it directly on ganzeer.com

#journal #FAQ